【美洲·牙买加】牙买加雷鬼音乐 Reggae music of Jamaica（2018年）

牙买加雷鬼音乐起源于一个主要位于金斯敦西部的边缘群体聚居的文化空间，它融合了多种音乐影响，包括早期的牙买加音乐形式以及加勒比、北美和拉丁音乐。随着时间的推移，新非洲风格、灵魂和节奏以及来自北美的布鲁斯被融入到元素中，逐渐将斯卡变成摇滚乐，然后变成雷鬼音乐。虽然雷鬼音乐在其萌芽时期是边缘化人群的声音，但现在它被广泛的社会各界所演奏和接受，包括各种性别、种族和宗教团体。它对关于不公正、抵抗、爱和人性问题的国际讨论所作的贡献，强调了这一因素的动态，即同时具有大脑、社会政治、感官和精神。音乐的基本社会功能——作为社会评论的载体、宣泄的实践和赞美上帝的手段——没有改变，音乐继续充当所有人的声音。从幼儿期到高等教育阶段，学生们在学校里学习如何演奏音乐，雷鬼音乐节和音乐会，如雷鬼音乐盛宴和雷鬼礼炮，每年都提供渠道，以及为即将到来的艺术家、音乐家和其他从业者提供替补学习和传播的机会。

2018年度列入人类非物质文化遗产名录。

来源：联合国教科文组织亚太地区非物质文化遗产国际培训中心

Having originated within a cultural space that was home to marginalized groups, mainly in Western Kingston, the Reggae music of Jamaica is an amalgam of numerous musical influences, including earlier Jamaican forms as well as Caribbean, North American and Latin strains. In time, Neo-African styles, soul and rhythm and blues from North America were incorporated into the element, gradually transforming Ska into Rock Steady and then into Reggae. While in its embryonic state Reggae music was the voice of the marginalized, the music is now played and embraced by a wide cross-section of society, including various genders, ethnic and religious groups. Its contribution to international discourse on issues of injustice, resistance, love and humanity underscores the dynamics of the element as being at once cerebral, socio-political, sensual and spiritual. The basic social functions of the music – as a vehicle for social commentary, a cathartic practice, and a means of praising God – have not changed, and the music continues to act as a voice for all. Students are taught how to play the music in schools from early childhood to the tertiary level, and Reggae festivals and concerts such as Reggae Sumfest and Reggae Salute provide annual outlets, as well as an opportunity for understudy and transmission for upcoming artists, musicians and other practitioners.

Included in the list of human intangible cultural heritage in 2018.

Source: UNESCO International Training Center for intangible cultural heritage in the Asia Pacific Region